The excerpts below are from an article by the BFI (which I presume is the British Film Institute? Correct me if I'm wrong J). The article exhalts the impressive and surprisingly long-running history of African cinema, and snubs (rightly I believe, but feel free to argue with me) Nigerian cinema completely.
Question: (its long, so please try not to get lost)
Nigeria is purportedly the base of the 3rd largest film industry in the world. Nollywood is despised by many, and adored by just as many, and its viewers extend beyond the cities of Nigeria to the country's hinterlands, its neighbours in Africa, other countries in the Caribbean, Asia etc. The Afro Beat so far has discussed the problems plaguing Nigeria, the roots of which, appear to lie in the mind-set/mentality/psyche of the Nigerian. Is it possible to argue that this mind-set manifests itself even in something as frivolous as our film industry, in which $$$ (i.e. quantity) seems to be the driver, rather than quality?
Does the new breed of movies like "Amazing Grace" (you know the one... Fred Amata and 3 white guys on the poster?) spell a wind of change for Nollywood? Will special effects and an actual plot or sense of direction become the norm in the future? Or will the majority of film producers continue to ignore the potential diamond-mine at their fingertips in favour of producing the trashy million-naira-making "home videos"?
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In this mental shadowland [Africa] lies a world of cinema: film-makers as significant as Martin Scorsese, as discrepant as Orson Welles; imagery as mythic as that of Sergei Paradjanov or Nicolas Roeg; life stories with the amplitude of Francis Ford Coppola's. These are films from a continent three times the size of the US, with more than 50 countries, over 1,000 languages, and nearly 300 film-makers in the Francophone territories alone. Many of us know something about Ousmane Sembène or Djibril Diop Mambéty...
Ousmane Sembène started as a bricklayer, became a Citroën factory worker and eventually a novelist... From 1966's La Noire de..., through the hilarious Xala in 1974, Sembène tackled gender. In Camp de Thiaroye (1988) he tracked the tirailleurs senegalais, the black African troops who fought for French colonial armies. Ceddo was ballsy in 1976, but consider its theme now: the arrival of Islam in 19th-century West Africa. Like Euro-Christianity, it brings violence and forces compliance; its advocates are fanatics, blind to cultural freedoms. The film ends with the local Wolof princess shooting an imam....
In Mauritania in 1970 Med Hondo had made Soleil O, the first, greatest, incandescent film about African immigrants. Safi Faye's feature debut, the first film by a black African woman, was the beautiful Letter from My Village (Senegal, 1975).
In the same year Algeria won the Palme d'Or at Cannes with Mohamed Lakhdar-Hamina's Chronicle of the Years of Embers, shot on 70mm. Still in 1975, Hailé Gerima's Godardian Harvest: 3,000 Years not only put Ethiopia on the film-making map but, with lines like "Is there anywhere in the world where there are no flies or Europeans?", turned African cinema white hot...
[We must not] leave out Senegalese man of the theatre-turned-director Djibril Diop Mambéty... At the age of 28 he made a caustic road movie, Touki Bouki (1973), Africa's equivalent of Easy Rider or A bout de souffle... Mambéty, like his polar-opposite Dakar visionary Sembène, was calling forth a here-and-nowness for Africa, a cubist, layered modernity, a filiation untouched by revenge but bustling with recovery...
[In the 1980s] Senegal was still a centre but Burkina Faso and Mali came to the fore. Their film-makers asked new questions: not ‘What do we do now that the colonisers have gone?' but ‘What were we like before they arrived?' The Maghreb film-makers of the north and the black African masters Sembène, Mambéty and Hondo were joined by three new directors of world class: Burkina Faso's Gaston Kaboré and Idrissa Ouédraogo, and Mali's Souleymane Cissé....
I watched my first African film, Yeelen, in 1990 and it changed my taste in cinema... I began to see what a feast African cinema in the 1990s was turning out to be. In the Maghreb, Morocco's Mohamed Abderrahman Tazi made the delightful comedy Looking for My Wife's Husband (1994). Tunisia fired out Férid Boughedir's Halfaouine (1990), about a 12-year-old boy negotiating the difference between female and male culture as he becomes a man; Moncef Dhouib's bleak semi-response to Boughedir's film, The Sultan of the City (1992); and Moufida Tlatli's The Silences of the Palace (1994). And from Algeria came Merzak Allouache's Bab El-Oued City (1994). These last five all challenge the reactionary elements of Islam."
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I counted well over 8 African countries in Cousins' article, with dates of movies stemming from as early as 1970. Nollywood, several decades behind, only began to make waves in the middle to late 1990s. Even so, has it yet challenged anything? Or ever made anyone contemplate anything beyond the realm of black magic, forbidden love, thuggery, or extreme misfortune and subsequent happiness after a dramatic conversion to Christianity?
Is Nollywood even trying to keep up with its remarkable African predecessors we've just learnt about in Cousins' article? Or (as I asked at the beginning) is it all just about raking in the $$$ right here and right now?